german hip hop


the first time i visited germany, in the summer of 2002, I went to one of the department stores in Hamburg to their music section. it’s odd: in germany they have a music section called “black music”. I’m almost positive that if that happened here in the states it would be seen as extremely racist. anyhoo…i purchase a samy deluxe album. that was my first exposure to german rap. I really liked his stuff (still do, even though I only own that one album). The second time I visited Germany I purchased a mix-tape album of Absolut Beginner, another german rapper. He actually has a track with the “diamonds are forever” sample that Kanye use on his track of the same name. I just was just on wikipedia and I’ve been reading on the history of German hip hop. It really goes along with American hip hop, starting in around 1983. I found this little reference to John Clarke’s theory of recontextualization, which i found interesting:

In a recent study performed by John Clarke on sub-culture styles, he coined the term ‘recontextualization’ which specifically refers to the process by which cultural products are borrowed or relocate from one contextual setting to another. In the context of German Hip hop, the cultural objects that compose American hip hop arerecontextualizedfrom the American urban setting to similarly multi-ethnic immigrant communities within Germany. Furthermore, he explicates that these cultural transfers rarely impose exact replication. Instead, cultural exchange implies cultural adaptation or what some sociologists call ‘localization.’ This process has deployed intriguing cultural transformations in the case of cities like Brunswick, Dortmund, Hamburg, Heidelberg, Kiel, Cologne, and West Berlin, especially amongst a youth immigrant population.”

There is also a lot of information on Turkish-German hiphop, as an expression of young Turkish immigrant youth’s feelings of mixed-identity and differentiation from “pure” German society.

The contribution of Turkish youth in the so called German hip hop is enormous, since it was one of the ways in which the segregated Turkish community in Germany express themselves. To express the discontent of being called foreigners, even when they are German citizens. What really attracted Turkish youth living in Germany to hip hop was the necessity of presenting themselves as Turks, but also as Germans. That is something that is reflected in almost every song produce by Turkish youth “for male Turkish youngsters, who grew up in a traditional strongly emphasized honor” (Dietmar Elflein). In other words even when the Turkish community in Germany has been discriminated against, just like African Americans and Latinos youth in New York invthe 60s and 70s, they have found their way to success through hip hop and are not ashamed of representing the melting pot in which they live.

This really sparked my interest, ever since my research paper on the space of young turkish queers creating a space in Berlin.  damn i want to move to berlin! I really miss it there….I swear if McCan’t gets elected, I’m fleeing to Germany.

Like most wikipedia articles, I find that I don’t have the patience to read the entire thing. But I did go to the refefrences at the bottom and found that the authors referenced an essay in a book that I would love to have:  The Vinyl Ain’t Final: Hip-hop and the Globalisation of Black Popular Culture by Robin D. G. Kelley.

So if anyone wants to buy that for me, it would be awesome.

Alright, enough VMA watching. MTV gets worse every year, I swear.

but what about the new kanye?

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more about “Love Lockdown (Live) | Kanye West | M…“, posted with vodpod


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